Fly On The Wall

Pon Prabakaran talks to Conchita Fernandes about the ups and downs of being a documenter of weddings, in today’s milieu.

- Pon Prabakaran

Prior to the rapid proliferation of photography in India, there was a certain formality that was extended to the craft, both by the photographer and the individuals wanting to get their pictures made. In the case of the latter, it was a decision that had to be planned well in advance, and was treated as a momentous occasion; Not everyone could afford to get their pictures made often. So, the portrait, whether it was with the family, or of oneself, or with the significant other (on the day of the wedding), was treated as a serious affair, sometimes serious enough that the stiffness was palpable in the body posture, as well as in the facial expression of the sitter. It was almost as if the eye of the camera demanded a certain reverence.

How this has changed today. It’s not just awareness, but also the extent to which photography has been made to feel second nature. There’s another side to this, a certain preparedness that has manifested in our external demeanour today. It’s not stiffness, but the absolute certainty in our mind of how we would like to be projected.

This has led to crude, staged images that are passed off as candid photography. The word is used so frivolously that it has come to symbolise its complete opposite. What do wedding photographers, who employ a documentary approach, do to navigate around this?

For Pon Prabakaran, a photographer who has become synonymous for his ability to unearth the unexpected, from the layers of superficial fabrication that encompass Indian weddings, it has been an uphill task. “It’s up to you to show your client the value in your approach. If they’re not completely invested in your vision, compromises will have to be made, always at your cost,” he says.

The State of Indian Wedding